Crow Warrior - PiliPili Figure Review

[Guy]

KIT REVIEW

Written and Photographed by Bob Knee, Jr.

This is the first time (to my knowledge) for PiliPili to venture into the smaller size realm of 90mm. To me the result of the Crow 90mm Warrior, Kit # NT01, was a fine success on the part of Le-Van Quang.

Kit, Parts, etc.

The kit is cast in resin, and only a few small parts must be attached. You probably will have to enlarge the groove on the left forearm to accept the pipe axe after it is painted. (Don't forget the pipe may fit unpainted, but painted is another story -- it doesn't.)

You must remove the usual mold lines. Please note the subject of your casting might require a bit more than normal sanding the finish surfaces. However, when your cleanup is completed, I am sure you will be pleased and excited as I was.

Most plains Indians used horse hair painted in various colors glued to the end of the eagle feathers adorning the hair or headdress. For this exercise, I used small, .015, tin wire and a small drill to achieve the result after I removed the existing "hair." Drilling far enough in the feather end to achieve a secure joint is no problem. I did this rather than use the feathers as presented.

The painting of this piece was most exciting for me. I decided to have a war shirt with the top half painted, which was not unusual with plains warriors. In this case I used a Rembrandt product, Permanent Madder Brown, #324 (artist oil). To raise the value of the color I used a bit of Naples Yellow Light, #426, Winsor & Newton.

For a great beadwork research, I used Crow Indian Beadwork; Wildschut, Wm; Ewers, John C.; Eagle's View Publishing Co.; ISBN: 0-943604-06-0 (Paperback). This is an outstanding research source giving colors and designs used. (Bruno Schmaeling graciously helped me with this information.)

As I have pointed out in another in-depth article on Native Abericans, Historical Miniature #53, Jan., Feb., Mar. 2006, a variety of color was achieved in the methods of skin/hide preparation and tanning. The plains Indians were skilled masters (mainly women) at producing the interesting variety of color on hides used as clothing. I wanted to follow this theory of color variation, thus producing a miniature with totally different hues on the animal skin clothing and resulting in great contrast of color.

Conclusion

I can highly recommend that you have a "go" at this beautiful Crow from PiliPili. This size, 90mm, will be a nice complement to your Native American collection. The offerings are growing! The American West still lives! Have fun, and keep your paint brush wet

 

[Wlas]

I agree with you, Bob. This is a fine figure. I'm curious about your choice of 'warpaint'. Paterek,s Encyclopedia of American Indian Costume goes into great detail using Thomas Mails' research on the Crow ( which is definitive ). "The usual custom was to paint the face red and add a tinge of yellow to the eyelids. " Horizontal stripes across the chest and arms. Faces were even blackened, but there is no reference to blue triangles or such a blue being used at all. Please let me know your reference for this.

 

[megroot]

Bob,

All i can say is that you did an tremendous paintwork on a fabulous sculpted figure.
Your beatwork is absolutely stunning.
Great work, and i'm sure it is a wonderfull figure to have into the collection.

marc

 

[moore]

This is a great figure. The painting and details on it are really
fantastic. Bob has done it again.... outstanding. I am gald
he is sharing on the Planet and giving details on his figures.
I am always learning something on the Planet.

Thanks for posting.

Dee

 

[quang]

Great painting, Bob!

Like John Wlas, I'm a little perplex about the facial painting but no doubt you have a valid source for it.

As for the colour(s) of Indian brain-tanned skins, it appeared that in the 'old style/hide period' (up til the mid-19th cent.), one could recognise a member of a certain tribe just by the colour of his clothing.

Northern tribes, especially Crow, had pale, nearly white skin clothing with heavy adornments (beadwork, quill work, ermine tails, ...). As one moved southwards, the skin clothing became darker, often painted with green or yellow (Kiowa, Comanche) and adornments became scarcer.

Nothing to detract from your fine painting, Bob, but I thought it might interest the Indian enthusiasts and painters out there.

Thank you for this fine review,

All the best,

Quang

 

[Guy]

Bob sent me an email in response to yesterday's postings and questions:

Hi John,

Thank you for your inquiry on the forum regarding the Crow (Quang's) paint designs and color. I, too, have a great interest in Native Americans, and, as such, have most of the books by Thomas Mails. After reading your questions, it appears that Mails might have a book referencing Crow colors? If so please let me know title, etc.

Now on to the answer of your questions. My source for reference was not face paint, per se, but one which goes into colors and designs in a much more definitive way. I found that these items were deeply ingrained into the culture and way of life and had spiritual meanings in many instances. The reference title is: Crow Indian Beadwork, A Descriptive and Historical Study by William Wildschut and John C. Ewers; published by Eagle's View Publishing, 1985; ISBN 0-943604-06-0 (paperback). Ordered from Barnes & Noble in 2006.

One of the authors, Wildschut, was a frequent visitor to the Crow Reservation in Montana early on. He was intimately knowledgeable in Crow lifestyle and customs. It appeared that the designs and color of artifacts were highly ingrained in the Crow culture and existed as early as Bodmer and Catlin. Thus, the reader must assume that color and designs were a meaningful way of life with the Crow and well established in the 19th-20th centuries. Moreover, for many years the Crow enjoyed the reputation of best looking and dressed Plains Indians in the Upper Mississippi culture.

My conclusion regarding color and design admittedly is an assumption and I felt that based upon such strong premises above, I was justified in concluding the colors and designs used were so indigenous with the Crow that I was well within my rights as a military miniature artist/author to present them as I did. Moreover, John, please remember we should not get too pedantic in our views when we are dealing with human whims, their variations, and deeply philosophical and spiritual feelings.

My specific page/photo citations to both color and design are p. 45 paragraph 1; p. 46 Figure 3 (photo); Figure 42 (common and usual designs); Figure 43 (photo). Moreover, we all should remember that both color and designs had a great spiritual as well as individual significance to the Native American, and this meaning found it's way into and onto the entire culture and objects of the people by paint, beads, quillwork and the like.

I hope that not only have I answered your questions, but also been helpful to you as well as to other readers.

Cheers,

Bob

 

[Wlas]

Hi Bob, thanks for your concerned response. This type of interaction gives even more value to this wonderful site.
Get a copy of Josephine Paterek's Encyclopedia of American Indian Costume ( it uses the Mail reference and is an incredible source of info about dress, jewelry, ornaments etc of EVERY tribe ).
I'm in agreement with you about the spiritual meaning of individual tribal choices of ornament, tattooing, face painting et al. Simply because we both agree makes questionable artistic license in an area where definitive info does exist. Tho' I would never deny this 'license' ( so prevelant at times in our field ) in this particular case I was taken aback ( is that still a word? ) at the blue face paint.
Since you've been good enough to admit that this was merely your 'interpretation' based on how you defined what you've studied, and that it was merely artistic license I humbly step aside.
I always enjoy viewing your interesting work at the shows. Hopefully we can share coffee ( my treat ) at the MFCA show and have a lengthy talk about this subject we have in common.

Guy, thanks for posting the reply.

 

[Roc]

Bob, excellent review on a beautifully sculpted and painted figure.

Hope to see at the MFCA.

Cheers
Roc.